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Publicação
De Miami ao Rio de Janeiro : repensar o Atlântico Negro em músicas populares
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Resumo(s)
Paul Gilroy cunhou o conceito de Atlântico Negro (Black Atlantic) para demonstrar
a importância da história das comunidades de escravos negros e migrações africana s na
modernidade. Esse conceito (ou quadro teórico) enfatiza especialmente a relevância das
culturas expressivas negras no Novo Mundo para as populações afrodescendentes.
No entanto, a interpretação de Gilroy sobre esse conceito desconsidera vários fator es
cruciais. É necessário repensá lo considerando as interseccionalidades das identidades
da diáspora africana, como reg ião, língua, género , história, e ntre outros elementos Esta
dissertação visa, no quadro interpretativo do Atlântico Negro, primeiramente , traçar o
ambiente, o contexto do surgimento e a história do desenvolvimento do Miami Bass
(década de 1980 a 1990) e do Funk Carioca (década de 1980 a 2000). P ropõe se ainda
a analisar os fatores chave de intercâmbio entre e stes dois movimentos musicais e de
expressão estética e artística , em termos de divulgação , produção musical, cultura dos
bailes e conteúdo textual. A partir da análise das semelhanças e diferenças, a dissertação
busca compreender as características comuns e as complexidades refletidas nas
comunicações entre as culturas expressivas negras na contemporaneidade no contexto
do Atlântico Negro.
Paul Gilroy coined the concept of the “Black Atlantic” to demonstrate the importance of the history of black slave communities and African migrations in modernity. This concept (or theoretical framework) particularly emphasizes the relevance of black expre ssive cultures in the “New World” for people of African descent. However, Gilroy’s interpretation of this concept does not consider several crucial factors. It is necessary to rethink it by considering the intersectionalities of African diasporic identities, such as region, language, gender, and history, among other stances. In the context of the Black Atlantic, the proposed dissertat ion aims to provide an overview of the environment, the context of the emergence and the history of the development of Miami Bass (1980s to 1990s) and Funk Carioca (1980s to 2000s). Additionally , it will analyze the key factors of exchange between these tw o musical movements and aesthetic and artistic expression in terms of dissemination, musical production, dance culture and textual content. By analyzing the similarities and differences, the dissertation seeks to understand the common features and complex ities reflected in the communications between black expressive cultures in contemporary times in the context of the Black Atlantic.
Paul Gilroy coined the concept of the “Black Atlantic” to demonstrate the importance of the history of black slave communities and African migrations in modernity. This concept (or theoretical framework) particularly emphasizes the relevance of black expre ssive cultures in the “New World” for people of African descent. However, Gilroy’s interpretation of this concept does not consider several crucial factors. It is necessary to rethink it by considering the intersectionalities of African diasporic identities, such as region, language, gender, and history, among other stances. In the context of the Black Atlantic, the proposed dissertat ion aims to provide an overview of the environment, the context of the emergence and the history of the development of Miami Bass (1980s to 1990s) and Funk Carioca (1980s to 2000s). Additionally , it will analyze the key factors of exchange between these tw o musical movements and aesthetic and artistic expression in terms of dissemination, musical production, dance culture and textual content. By analyzing the similarities and differences, the dissertation seeks to understand the common features and complex ities reflected in the communications between black expressive cultures in contemporary times in the context of the Black Atlantic.